No comments about Live At The Benson.

1 comments about Ballad for Americans and Other American Ballads/Odetta at Carnegie Hall.

1. I have both original recordings, and love them. Odetta has a voice and style that has always impressed and moved me. She sings these songs with great respect for the music. Odetta is one of the true icons of folk and blues. When you listen to these songs, you will understand. Any one interested in the origins of folk, folk - rock, or any other folk hybred needs to have this collection. Buy one for a back up. My son's taste in music ussualy leans toword heavy metal, rap, and hip hop. However, when has listened to some of my Odetta and other folk greats, the recordings disappear to his house.

No comments about Blues with a Feeling, Pt. 1.

No comments about Live at the Dinosaur, Vol. 2.

No comments about Live: Like You Like Him.

1 comments about Black Top Blues-A-Rama, Vol. 5.

1. ronnie earl is on here playing a set. that alone is worth the price.

1 comments about Swingin' at the Chatterbox: 1937.

1. These are air checks of the Count Basie Orchestra at the Chatterbox Cafe at the Hotel Pennsylvania in Pittsburgh in 1937. These are the earliest recordings of the Count Basie Orchestra as it arrived on the East Coast from Kansas City, BEFORE THE "improvements" John Hammond foisted on the band which preceded the initial Decca recording sessions.
   
   The band here is a lot blusier, a lot loser, a little wilder, and perhaps not as formally correct with intonation problems and inferior instruments to the ones that were subsequently obtained for them. Yet, this is the real sound that made the band a sensation out in Kansas City unvarnished by New York polish or Hammond's interference. It's worth navigating the scratchy recording for the feel of the band. Moreover, as always with live Basie dance sets, Basie's band rises to the occaision of inspiring dancers, even though it is said that the dancers in the rather staid high society Chatterbox weren't ready for the latest in Black swing during this date.
   
   This was before the replacement of Claude Fiddler Williams who was Downbeat Guitarist of that year by Freddy Green who stayed in the Orchestra until his death in the 1980s.
   
   Williams's guitar is more evident even on these poor recordings than Green's. He beats a funkier contrast to the band and the rest of the rhythm session unlike "Quiet Fire" Green who would blend in and shape the smoothest rhythm on the planet.
   
   Williams was called "Fiddler" because he played a great swinging bluesy fiddle. These are the only recordings of Claude Williams playing fiddle with Basie although Fiddler does play guitar on the first session or two the Basie Orchestra had with Decca. There is some really hot music when he picks up his fiddle. He sounds like a funkier version of what Johnnie Gimble would do with Bob Wills a decade later.
   
   Williams, who always said he was fired by John Hammond as opposed to Basie's story that there was a friendly parting of the ways, concluded in his later years that this was better for him. He launched a great new career as a solo jazz violinist. In later years Williams said this was better than if he had stayed with Basie and spent 40 years playing the same rhythm pattern over and over.

5 comments about Travelin' On.

1. As you can see, every review of this CD is five stars, and let me tell you, NO ONE who appreciates great music from the heart will give this CD any fewer stars. It is definitely the best live blues CD of the entire 1990s--hands down. Mooney takes the blues and, while honoring its tradition, makes his own guitar style and type of virtuosity. You will swear you are listening to two guitar players on some of these tracks, but the credits don't lie--it's a three piece band--it's just him, his bassist and drummer! The audience adds a lot to the recording with their well-placed cheers after many of his great solos. His vocals are great, too--reminds me somewhat of Howling Wolf. Great songs, both covers and originals here. A MUST HAVE for all blues fans!!!



2. I was skeptical when I read about this being the best live blues cd recorded in the last 25 years. If it's not the best, its certainly in the top 10. John Mooney's work on this cd is the funkiest slide blues that I have ever heard. His version of Junco Partner is OUTSTANDING. If you like funky blues with a ton of energy - get it!



3. this CD used to be import only, but now you can buy it here. i once had the good fortune to meet John Mooney and recited his catalog to him and begged for more. He modestly told me "oh, there's this live thing they did in Germany". I spent untold bucks tracking this down until i called the Crosscut label in Germany- i bought 5 copies at $25 each PLUS shipping from Germany,to give to my closest friends and they still thank me to this day. you'll never find this one in "the bin" it's just too rockin'. if you've ever seen John live then just buy it right now.



4. DUH! It is, after all, the Mooney man... have you been to a show



5. Now that you are aware that it exists, you must buy this CD. Even if you've never heard of the guy and somehow stumbled across this review, you owe it to yourself. John Mooney is best experienced live, and this disc is the best approximation to a live gig possible. The combination of delta slide guitar and syncopated second-line New Orleans rythms that Mooney pulls off is complex, unique and astounding... gutsy, funky, driving, and soulful. As strong and identifiable a slide guitar player as Duane Allman and Lowell George, Mooney's mentor was Son House and it's clear that he learned from the best. However, he's a true innovator taking the blues new directions. His gruff vocals are somewhat similar to John Hiatt. When I saw him blow the roof off of a club in New Orleans a few months ago, I felt like I was seeing Stevie Ray Vaughn in Austin in 1981, when no one but the locals knew who he was but they KNEW what he was capable of... get this disc and you'll be in the know as well. Funky, gritty takes on classics like Junco Partner and Shortnin' Bread, more traditional delta blues like the outstanding Robert Johnson covers and a great version of Muddy Waters' Standin' 'Round Cryin', and a few great originals like the title tune. Greasy, sweaty and grimy like the blues was meant to be, with a virtuoso's ability yet a confident restraint... always soulful, never showy.

No comments about August 5 1958.

No comments about San Antonio to Dallas: 1936-1937.